Primera pieza acusmática como parte de la investigación de la Maestría en Tecnología Musical de la Universidad Nacional Autónoma de México. (UNAM).

OLINDA

Listen with good headphones or speakers (low frequencies)!!!
"Playing with the dune" is an improvisation music project based on recordings I made in the Atacama desert - Chile (2016). The project is opened to any kind of instrumental/devices group improvisation.
This is a live recording, part of the concert (21/11/16) I did in the Festival Musicahora - La Serena - Chile
Grupo Septiembre: Mauricio Alvarez (electric bass), Pablo Pallero (drums), Esteban Correa (electric guitar)
Rodrigo López (flute)
Carole Chargueron (live processing with Max/MSP)
Many thanks to my Serena friends to make it possible !

Playing With The Dune

VI - Rugitus v.02 - 09:22 (2016)

composed in a private studio. premiered at the Música Viva 2016 Festival; selected and presented under the international competition BANC D'ESSAI 2016, INA-GRM - Paris | France; 
also circulated in the following festivals in 2016: Visiones Sonoras (Mexico), Audio Art Festival (Poland) and DME (Portugal).

Rugitus v.02 - synopsis

Since the inception of musique concrète and elektronische music, more than 6 decades ago, and due to the extraordinary developing and democratization of DSP technology, the academic electroacoustic community has developed tools of great potentiality that allow fascinating sonic manipulations, especially, and more recently, in the spectral domain. Various aesthetic schools have emerged since the early days and one can generally and historically speak of the French school of musique électroacoustique (GRM and other centers), of the Canadian school of electroacoustic music and soundscape composition, the computer music school of North America, etc.... With the technical advancements achieved also resulted what one can entitle as “sonic trails / footprints”, for in some pieces one cannot fail to rapidly grasp / identify certain processes / parameters of GRM tools (be it the doppler effect, the freeze, the pitch shifter, the delays, etc....) or from other software, as Metasynth, for example. This sonic trail compromises, to a certain extent, the experience of the reception of the piece, for it encapsulates the listener (in particular whom is also a composer) in the technical medium, turning the listening into a non-acousmatic situation (not considering the source of the sounds but, in this case, the provenience of the manipulation). Nowadays, some acousmatic music pieces seem to be valued in favor of technical virtuosity that tends to valorize more the musical gestures in their spectral complexity and causality, then the experimental musical potentialities of textural and timbre creative conjunctions. Brilliant spectral and granulated organic abstracted sounds, squishing watery like sounds, wondering around in the stereo or 8 speakers acoustic eld are often heard in contemporary pieces. Harsh, “degraded”, noisy and / or clean sounds (meaning without processing) are not consensual or abundant in most pieces. Long gone are also the early techniques, at least in an extensive use, which Schaeffer presented in pieces as “Etude aux chemins de fer”; or Henry in “Variations pour une porte et un soupir”.

Rugitus is a latin word that denotes, among other things, noises, it recalls the idea of roars and strident sounds. The present piece is made essentially with a series of sounds derived from three main sources: a door, a metal sphere and a balloon. These sound objects were recorded and then manipulated by a conjunction of “old and new techniques”. One intended to integrate both the recent dsp techniques with the original métier of musique concrète, i.e., horizontal splice-collage, loop usage, juxtaposition of sounds, variation of envelops, speed, pitch, reverses, simple delays, ltering, reverb, crescendos / diminuendos, ostinatos, etc... Rugitus presents loud and quiet sonic events, intense musical gestures and imbricated textures / sound masses, towards a varied and whimsical listening experience.

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RUGITUS is part of Esofonia, which is an anthology of acousmatic pieces that illustrates part of the musical journey of João Castro Pinto (from 1999 to 2017), released by MISO RECORDS, on October 7th 2017.
Although they are referred to as acousmatic, the works that appear here are, more precisely, of a hybrid nature, i.e., they vary drastically, in terms of quantity and quality, between the maximally acousmatic and the totally referential.

More info @ www.misomusic.com/index.php?option…lang=en&iframe=1

ESOFONIA - acousmatic works 1999-2017 - RUGITUS V.02 (excerpt 2)MISO RECORDS

Obsidia – dos sons invisíveis ou das imagens audiveís - 09:14 (2017) 

One of the connotations of the term obsidiar (to obsess) is the idea of obsessive pursuit, of insistent focus. This idea of insistence is musically employed in the sense of the exploration of sound aspects that, throughout the piece, are heard. One of these aspects is the repeated focus on the spectral degradation of sounds, that is, the detailed work of subtraction, addition, multiplication, etc... of spectra of various sonic families. 

Another aspect that qualifies this piece is that, in terms of compositional methodology, it focuses on quasi-granular timbral exploitation, making extensive use of the doppler effect, animating sound objects with pronounced gestures and movements. 

The sources of this composition consist of sounds from various objects, manipulated and recorded at the ORF studios in Vienna, Austria, on the occasion of João Castro Pinto's radio art piece: "The No Land Soundscape Project" on April 30th 2017 (more info @ http://kunstradio.at/2017A/30_04_17en.html), and sounds of machinery dedicated to the printing of paper and currency coinage at the Imprensa Nacional Casa da Moeda. 

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Obsidia – dos sons invisíveis ou das imagens audiveís is part of Esofonia, which is an anthology of acousmatic pieces that illustrates part of the musical journey of João Castro Pinto (from 1999 to 2017), released by MISO RECORDS, on October 7th 2017.
Although they are referred to as acousmatic, the works that appear here are, more precisely, of a hybrid nature, i.e., they vary drastically, in terms of quantity and quality, between the maximally acousmatic and the totally referential. 

More info @ https://www.misomusic.com/index.php?option=com_content&view=article&id=597:novos-lancamentos-miso-records&catid=70&Itemid=665&lang=en&iframe=1

ESOFONIA - acousmatic works 1999-2017 - OBSIDIA (excerpt) MISO RECORDS

Septiembre está conformado por: Esteban Correa, Voz y Guitarra / Mauricio Alvarez, Bajo / Pablo Pallero, Batería. Todas las canciones fueron escritas y compuestas por Mauricio Alvarez y Esteban Correa, con la colaboración de Pablo Pallero. Grabado en Santiago de Chile por Paulo Rojas en cinta análoga, entre el 15 y 17 de enero de 2011. Mezclado y Masterizado en La Serena por Esteban Correa, bajo la supervisión técnica de Raquel Painean y Asistencia de Mauricio Alvarez, en la casa estudio Mamalluca 12, entre Febrero y Abril de 2011.  Contacto: 
septiembre.grupo@gmail.com
https://www.facebook.com/gruposeptiembre

06 Niña del norte

Barkhanes 
2010
Carole Chargueron

Sound Space Installation/ Musical Intervention

Barkhanes is the result of the intersection between sound space installation and scenic world. The project idea comes in conceptual terms from the dune song, a low and profound sound generated by the fall of the top of some Barkhanes dunes. The dune sand has specific characteristics which produces a tuned sound when the sand fall, mythicized during centuries.
Barkhanes begins and ends as a cuadraphonic sound installation with a drone sound generated synthetically (max/MSP). People are invited to sit inside this space. At a certain time, 5 musicians (4 instrument players and the composer) and a person in charge of the light, enter the space and begin to play with the synthetic sound, following a determined composition structure with defined/improvised musical gestures.

The audience and the performers are inside the same space. As the audience, if you sat in a different place, you would experience a different timbrical version (because of the movements of the musicians) and a different spacialization. 

Barkhanesaudiozoom-video

carole chargueron

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